(the) Road to the Deep East

I totally agree with Marty Friedman as to that JPOP is interesting, but I have to add, JPOP reviews from Japanese reviewers are always boring.

It is always written by a style called 'impressionistic criticism'. Many reviewers write about music, but in most examples, they are just chatting over the music, not reviewing the music itself. For example, ' I was moved by the song from this group!! When I listened their music, I was a student of Waseda...', or, 'I listened to this music with my boyfriend. It encouraged me, because... I imagine this song writer experienced the love like us.'

These asshole reviewers don't know, they are just talking about themselves, not the music itself. This problem of 'impressionistic criticism' is a common problem in Japanese art industry as a whole. (If you want to read this kind of reviews, please read a magazine called rockin' on JAPAN) And this lack of authority is one of the reason why JPOP is looked down by many Japanese.

But now, this true gaijin man in Tokyo gives a true JPOP review based on his 30 year experience as a rock musician. Amazingly, for Japanese readers, the wrote this book in Japanese, by himself. Of course, I know there is a job called editor, but his colloquial style Japanese is perfect, and it's an enjoyable read.

He starts from his autobiography. It looks he was a typical rock star wannabe, who was influenced by Elvis first and loved KISS later when he was a boy. It is a bit amazing he is a son of a government officer working at NSA (what did he thought when his son starts to work at 'megade(a)th'?') , but he mastered playing guitar by himself and organizes a band with his friend in Washington, D.C.

It was when moved to Hawaii and listend to an enka song from Yashiro Aki that he discovered JPOP first. He was shocked by its sorrowful melody, and thought of using the enka's vocal technic into his guitar play. He explains, 'The vocal melts like syrup and pour into the melody.' He was also introduced Mihara Junko, idol pop singer in 70s, and impressed by its guitar guitar riff which reminded him of progressive rock.

He kept listening JPOP since then, even after he became a member of Megadeth. He was introduced a lot of JPOP whenever he visited Japan. And he was moved by the 'No Holds Barred' style of JPOP world, people can delve into a lot of genres. And This interest on JPOP finally lead him to the origin of JPOP, and made him left from Megadeth. He also thought of moving to another group in Ameica and starts JPOP-esque music, but he thought he should pursuit true JPOP in Japan.

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It's interesting story. The points which many critics in Japan criticizes, incoherent reference from a lot of genres and unfashionable enka, were the points which intrigued this foreign genuine musician from America.

But He explains why Japanese doesn't listen to JPOP seriously and never think it's great, with quoting Japanese old proverb. 'Japanese listen to JPOP since their childhood, so they have get accustomed to it. But I say , it is 'Toudai moto kurashi' (灯台元暗し,The foot of lighthouse is always dark). Japanese are just overlooking the important thing that lie near at hand.

Then, he starts to review many works from many Japanese artists in his own words. It's insightful review, and we can learn 'which point is great' in JPOP. It is what we can't learn from Japanese reviewers.

For example, regarding 'Life' from Nakajima Mika, he says,
'The pitches from verse and hook are quit different. It is totally irrational change of key in musical theory, and it is mysterious flow of chords. It is often seen in Komuro Tetsuya's works or Hamazaki Ayumi's works. It is like two songs are mixed in one song, and can't be seen in Western music.'

As for 'Beautiful World' from Utada Hikaru, he says:
'The range of melody that people can thought comfortable is very limited. This song is far from that point, but Utada's technic in vocal and song writing makes people think, “It's good melody."

Marty also defend JPOP regarding thress points JPOP haters criticizes.

As for 'pakuri', direct quotation from Western music, he says:
'Petit-pakuri is okay, because it is just the part is similar, and the interpretation of speed and tone is different. So, the mood of the whole song is different.'

As for English pronunciation, he explains quoting 'Tongue te Tongue' from Soul'd Out.(*1)
'The lyrics are interesting. It is very fast, but English lyrics are fishy. They don't make sense as English words, but including Japanese, they are just pursuing the comfortable sounds, strictly.'

He also defend 'avex Divas', female singers from avex whom many cynical people (*2) criticize saying they are popular just thanks to desperate promotion from the agency.

Hamasaki Ayumi is the number one of number ones of number ones. She has every good points of JPOP female singers. The great point is not only sounds, her existence is super A-class. Hamasaki Aymi must be the artist who is supported by A-class staffs like song writers or backing musicians or promoteres. But she has a stong character and make us forget about the existence of such staffs.'

As for Koda Kumi, he compares with other Japanese R&B singers like Misia and Ayaka, and he still chose her as Number 1 Diva of all female singers in Japan. Marty says she is like Bjork + Madonna in Western music. Koda's image is always sensational like Madonna, and her music is always challenging and new like Bjork. He also approves Otsuka Ai's cute voice, which we never seen in Western music.

But what kind of songs he actually loves the most? In the middle of this book, he selects 'JPOP Top 40'. I don't spoil you in details, but some of songs from Top40 amazes us, and we can learn how deep this true gaijin man in Tokyo loves JPOP world. He selects some songs some fashionable JPOP reviewers never listen to, not only Polyrhythm from Perfume. (#14)

#39 Yamamoto Sayaka 'Christmas Koushin Kyoku'
#37 W 'Robo Kiss'
#10 Matsuura Aya 'Momoiro Kataomoi'
#7 Matsuura Aya 'Yeah! Meccha Holiday'
#4 Matsuura Aya 'Nee?'
#3 Sannin Matsuri 'Chu! Natsu Party'

I remember the solo album from Yamamoto Sayaka, a member of DRM(dream) sold just 699 copies in Japan, but Marty listened to this song, and approved it as #39 of JPOP all time. I can't admire him and his JPOP pursuit enough.

And he also selected a lot of songs from Tsunku, but never select any from recent works. I agree with his sense at this point, too.

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Like this, this book from Marty Friedman is amazingly informative book. Some may say he flatters too much, but it's sure these reviews give you another view to enjoy JPOP, and you can learn a lot from this book.

Especially, it is very good that this book has an index. Many Japanese books don't have this one and we sometimes have to search by myself, wasting tons of minutes, but you don't have to worry when you want to remember what Marty says about the musician you love.


It's written in an easy spoken language, so it won't be difficult to read for foreigners who are interested in Japanese language and JPOP like him.

But after seeing his greatest reviews in Japanese, now I wish Marty will write a book to introduce JPOP in English in the future. It'll be the best guide book of JPOP for foreigners.

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*1)Some English part in 'Tongue te Tongue' sounds　okay to me, but May be he is mentioning about this part.
Feeeever Beeeeever Now yougot a B-POP Freak on!
Be what! G what! Gotta Kick the pumpkin pop
Feeeever Beeeeever I'm just D-ROCK Digger!
P what! E what! That's my pleasure

*2) I have to admit, but me too. I still think these flatter to avex divas are related to that he is now belonging to avex, though...